Final script (1)
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Alex draws pictures depicting himself and his friend Sophie in dangerous situations. In his room, Alex expresses concern to Sophie about becoming like his troubled brother or other male role models who have left his life. He worries that inside he could become a bad person without realizing it. Sophie reassures him that she knows he is good. Their conversation is interrupted when, in an alley, the man Alex drew suddenly appears and captures Sophie while Alex watches in shock.
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Street Style Script
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Script false image montage
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Andre has been playing video games for 15 hours straight and is exhausted. He has a nightmare that his kitchen appliances come to life and torment him. Unable to sleep, he researches his nightmares and discovers they are fueled by fear. He decides to change his emotional response to anger and love, causing the nightmares to stop. The short film explores one man's battle with nightmares through the lens of his gaming hobby and internet research into dream interpretation.
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1) Sam and his two friends Jeff and Alex are getting ready to leave school after a day of activities. Jeff and Sam have to put some equipment away while Alex waits for them.
2) Sam finds Jeff dead in the bathroom with his throat slit. When he goes to warn Alex, he finds Alex's bloody lanyard on the stairs.
3) Sam is chased through the school by the killer but is unable to escape through chained exit doors. He is eventually cornered and stabbed in the photography studio, pulling off the killer's mask before dying to discover it is someone he knows.
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This document outlines a shooting schedule for a film with several scenes requiring Olivia and the actor. The scenes will take place on weekends outside the SPS room and school. They include the actor singing and interacting with Olivia, who then "disappears" from the scenes. Flashback scenes will also be filmed of the two characters in various locations like Tesco and watching a movie together.
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Leben- und Sozialberatung ist die professionelle Beratung und Betreuung von Menschen in Problem- und Entscheidungssituationen. Sie trägt dazu bei, belastende oder schwer zu bewältigende Situationen zu erleichtern, zu verändern und eine Lösung zu finden. Sie unterstützt und berät Einzelne, Paare, Familien, Teams und Gruppen beim Erarbeiten von Lösungen. Es gibt etwa 5.417 aktive psychologische BeraterInnen in Österreich (Aktueller Stand vom 29.01.2017).
Dieses Studienbegleitbuch hilft dabei, einen Überblick über die umfangreiche Ausbildung zu bekommen und im Laufe der 3 - 5 Semester nichts zu vergessen.
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Leben- und Sozialberatung ist die professionelle Beratung und Betreuung von Menschen in Problem- und Entscheidungssituationen. Sie trägt dazu bei, belastende oder schwer zu bewältigende Situationen zu erleichtern, zu verändern und eine Lösung zu finden. Sie unterstützt und berät Einzelne, Paare, Familien, Teams und Gruppen beim Erarbeiten von Lösungen. Es gibt etwa 5.417 aktive psychologische BeraterInnen in Österreich (Aktueller Stand vom 29.01.2017).
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Types and convention
Music videos often tell a story or narrative that relates to the song's lyrics. This helps viewers connect the visuals and audio, making the song more memorable. Narrative music videos engage audiences like short films and can increase views when collaborating with films. Examples include Ariana Grande's video using scenes from The Mortal Instruments. Effective music videos also feature the artist, well-edited visuals synchronized to the music, and convey the song's genre or theme. While narrative videos dominate, performance and conceptual styles also communicate songs through artist portrayal or abstract concepts.
Types and convention
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British films tend to choose more unique genres like comedy, animation, thriller, and sci-fi, while focusing on British humor and culture. They have lower average budgets of £6.2 million as compared to Hollywood's $100 million average budget. British films aim for a mix of commercial and creative success, while Hollywood films tend to be more commercial, aiming to make money by following formulas that are proven box office successes. Some major British production companies include Warp Films and Heyday Films, while major Hollywood studios include Warner Bros., Paramount, Universal, Walt Disney, and 20th Century Fox.
Essay
The proliferation of hardware has affected the film industry in several ways. It has benefited large production companies and institutions by improving production quality through new camera and editing technologies. However, these technologies are often too expensive for independent companies to access. While special effects and quality improvements attract wider audiences for large studios, independent films still find audiences with low-budget productions. The increase in distribution platforms makes it harder for films to find their target audiences, but also benefits independent films by providing new exhibition opportunities online. Overall, the increased hardware and content benefits institutions and production quality more than audiences who experience less variety and originality as similar techniques are now used across the industry.
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This document provides information about three different cinemas - Cineworld, The Rex, and BFI. Cineworld is described as a multiplex cinema that primarily shows popular films from large studios on its 11 screens. The Rex is an independent cinema with one screen that shows both independent and larger studio films. BFI has 3 screens, including an IMAX screen, and shows a mix of 20% independent films alongside popular studio films.
Case studies
Warp Films, Heyday Films, Lucasfilms, and The BFI are film production companies with different specialties and levels of success. Warp Films focuses on distinctive British films and has seen success with films like 71. Heyday Films produces big budget films and has generated billions from the Harry Potter franchise. Lucasfilms is known for Star Wars and Indiana Jones and has profited over $2 billion from Star Wars alone. The BFI is a British organization that provides funding for independent films and aims to promote diversity, with 12 Years a Slave being one of its most successful supported films.
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G322 question 1
- Film consumption has greatly declined since 1935 due to the rise of new technologies that make viewing films more convenient at home, such as DVD players and streaming.
- Teenagers aged 15-24 make up the largest percentage (35%) of cinema audiences, indicating they are the most active media consumers. Producers therefore target this demographic.
- In 2015, males made up 51% of cinema admissions, preferring action films, while females leaned towards films like 'Suffragette'. However, both genders actively view different types of films.
- Technology plays a huge role in film distribution and exhibition by providing a variety of platforms to target diverse audiences and show films more widely. It has
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Question 1 evaluation
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Question 5
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Question 1 evaluation
The document discusses how the media product conforms to thriller genre conventions. It analyzes the use of iconography like a dark alley setting, characters like the mysterious protagonist Alex, and a narrative involving kidnapping that fits the psychological thriller subgenre. Feedback confirmed the genre was easily recognized as thriller based on these convention elements. In general, the opening sequence succeeded in conforming to conventions of mystery, suspense, and "good vs evil" themes common to the thriller genre.
Institutional research
There were 52 thriller films released in 2015, accounting for 6.9% of total films and 2.9% of total box office earnings that year. While thriller films are profitable, they are less popular than action films. Some of the most successful thriller films in 2015 were Taken 3, Mad Max: Fury Road, and Mission: Impossible - Rogue Nation. These films were highly successful due to their large budgets, franchise popularity from previous films, star power, and appeal to broad audiences as hybrid genres. Younger audiences, especially males ages 15-24, tend to be the primary viewers of thriller films.
Evaluation and feedback
The peers who reviewed the documentary found that the establishing shot of Alex drawing in the title sequence did not link well to the conversation scene. They also felt the shots of the conversation seemed awkward. Both of these issues will be addressed by refilming the conversation with separate shots. Overall, the title sequence was aesthetically pleasing and the camera work such as focus pulls and pan shots were well done. However, the main weakness is a lack of continuity in some of the editing. The titles also did not match the genre or narrative. But these issues will be fixed in the final cut. The opening sequence had fast-paced editing that engaged audiences, and the smooth transitions made it visually pleasing to watch. Minor changes such as
Post production diary
Miles organized the initial editing of the rough cut. On the first day of post-production, the group reviewed footage to select clips for the title sequence and opening scene based on quality. They established themes of fear and art and allocated roles for importing clips, audio, and organizing the timeline. On the second day, they edited conversations and kidnapping scenes, with members cutting, matching audio, and placing clips. The third day was spent finalizing and polishing the rough cut with minor color corrections and titles. Overall, the team demonstrated good work dividing tasks and completing a high quality draft, though some shots needed improvement.
Production diary day 3
The production diary documents Day 3 of filming on November 22nd, 2016 in the art room of Manshead School in Dunstable. They finished filming the title sequence using drawings provided by illustrator Cara as well as a camera and tripod from Chris. All footage was filmed in under an hour. Upon reviewing the footage, the group agreed it was of good quality and suitable for the title sequence, with any subpar shots to be edited by Miles.
Shot log
This shot log summarizes footage taken during the production of "KnowingNightmares". It includes over 50 camera shots documenting scenes with characters Alex and Sophie at a school and house. Each shot is rated for quality and notes are provided on whether segments are usable and any edits needed. Usable segments include dialogue between Alex and Sophie, the kidnapper running and attacking Sophie, and a drone shot following Alex and Sophie.
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Final script (1)
- 1. INT. ART ROOM. DAY. ALEX’S drawings are displayed, featuring himself (and occasionally SOPHIE) in some form of danger. This includes a drawing in which ALEX and SOPHIE are being chased by a young man, as well as SOPHIE being kidnapped. INT. ALEX’S ROOM. DAY. ALEX and SOPHIE are sat on his bed. SOPHIE is on her phone, whilst ALEX sits uncomfortably. She looks up from her phone, and watches him for a few moments, seemingly concerned. SOPHIE (leaning towards him) What's up? ALEX Just thinking SOPHIE ...and? ALEX And what? SOPHIE (mocking him slightly) Aren’t you going to tell me what you’re thinking? ALEX Shut up SOPHIE I'm serious EXT. ALLEYWAY. DAY SOPHIE and ALEX are running away from a man, evidently trying to harm them. This resembles the previously shown drawings. ALEX (V.O.) I was just thinking, you know, about my brother SOPHIE (V.O.) (sighs) Alex, I told you- ALEX (V.O.) No, no not like that. It’s just, what if I’m like him? Ever since dad died it’s been hard for me to look up to another man. He was my best friend. What’s happening to
- 2. all the men in my life Soph? SOPHIE (V.O.) Alex- SOPHIE attempts to protest, but ALEX cuts her off. ALEX (V.O.) Hear me out. People like him – bad people – they’re always so certain that they’re right. Take Darth Vader, or the Joker or someone. They really, really believe in what they’re doing, just as much as Batman does. Don’t you think that’s scary? SOPHIE (V.O.) I don’t know… ALEX (V.O.) I read this theory the other day, that all these different versions of our past selves are still alive inside us, and that’s why we are who we are. What if that’s why I can’t let go? INT. ALEX’S ROOM. DAY. ALEX (CONT'D) And I mean, I feel like I’m a good person, but that’s only because I think my actions are right. What if they’re not, Sophie? I wouldn’t know- SOPHIE Yeah, but I know. I know you’re a good person. ALEX Maybe you’re like my evil sidekick SOPHIE (she looks disgusted) You’d be lucky ALEX (he laughs) You know what I mean. That’s why I draw all of this. He motions to the drawings on his wall.
- 3. ALEX I just don’t want any of it to happen. SOPHIE Alex, seriously. Why are you so worried? You’re not like him, you know. You’re you. I don’t think you’re even capable of hurting anyone. EXT. ALLEYWAY. DAY Resume the previous scene, in which SOPHIE and ALEX are running. SOPHIE falls over, and ALEX does not notice until the man has caught up with her. In a state of shock, he watches as SOPHIE is captured.